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All periods > Sketches
1935 Sketches of Huang Yao by Ye Qianyu and Lu Shaofei and Lu Zhiyang
Sketches of Huang Yao by Ye Qianyu, Lu Shaofei and Lu Zhiyang.
1960s The Collection of Single Characters
Huang Yao compiled the many different ways of writing the same single Chinese character, from pictograph to oracle bone inscriptions and bronze scripts. Below every character, he noted the source in ‘caoshu’. There are a total of 74 pages.
1960s The Dictionary
The 'book/dictionary' has a total of 586 pages. Each page is for one character only. A few different ways of writing that character in oracle bone inscription, bronze script, ‘zhuan’, ‘li’ and ‘kai’ are included. There is also a description of the origin of the character and how it's shape, sound and meaning has changed over time. The sources for these descriptions were from classical Chinese reference materials.
1960s The Collection of Phrases
A set of 32 pages, similar to the ‘Collection of Single Characters’ but now the characters are grouped into phrases. These phrases are of auspicious sayings, idioms, Buddhist sayings or parts of poems. Using the example of ‘wan xiang geng xin’ or ‘everything takes a new look’, is similar to examples in Item1 but with four characters forming a phrase.
1960s to early 1970s The Calligraphic Sketches of Chinese Characters
Each sketch can be of a single character or a phrase of multiple characters. There are a total of 1,611 pages.For this example, Huang Yao chose 3goats to represent the phrase‘sanyangkaitai’; ‘sanyang’means 3 suns,but the sound yang can also mean goat, hence the choice.
1960s Niubizi and Xiao Niu Series 1
The first series consists of 40 pieces, measuring 17.5 x 22 cm, executed in ink, pencil on paper, with 6 panels per page and 12 panels make a story.
1960s Niubizi and Xiao Niu Series 2
The second series consists of 16 pieces, measuring 21.5 x 28 cm, executed in ink, pencil on paper, with 6 panels per page and 12 panels is one story
Early 1970s The Calligraphic Sketches of Poems
This set consists of 24 sketches. Huang Yao had progressed from single word to phrases and now to a group of words, from Tang poems, Buddhist poems and even classical literature. The first page for each 'poem' has the characters of the poem written in a column on the left-hand side of the page.
Early 1970s The Sketches for Paintings
Huang Yao chose to use his favorite phrases, a total of 51 sketches were produced, a single page per phrase. These phrases are of auspicious Chinese sayings, idioms, or parts of poems. For each phrase, different ways of writing each character in the phrase were listed.
1970s to early 1980s The Drawings
A set of 51 drawings of single Chinese characters and phrases. These were done on thin white paper-cardboard. It appears that the ‘Drawings’ were first done with pencil, going over the same line many times and finally with a thick stroke in blue felt tip pen bringing out the final picture.
1972 to 1973 The Diary
Similar to The Collection of Phrases, The Diary consists of many more different pictographs that has been diligently collected for each Chinese character. This time, only a brief explanation of the character was recorded in The Diary.
1978 to 1987 Folk Culture Paintings : Sketches
Sketches of Folk Culture Paintings
1978 to 1987 Sketches of Important Cultural Figures in Chinese History
Between 1978 to 1987, Huang Yao moved to Kuala Lumpur to be with his son and family. By then, he was prolific in his creativity and output in paintings. During this period, he did a series of sketches about important Chinese cultural figures.
Process of creation of Hui Neng Jie (compiled in 2001)
I had used zhuan shu to 'write' Huineng's (a Zen master) poem, 'The Bodhi is not a tree, the mirror is not the stand, originally there was nothing, where can the dust settle', at least four times. The first piece was for my friend Prof.
Process of creation of Fu Lu Shou (compiled in 2001)
'Process of Wenzi Hua Development - from sketches to paintings. Ink is subdivided into five hues. ...Dry and moist ink strokes have to be performed with flexibility, resulting in an array of light and heavy, as well as thin and robust strokes...
Process of creation of San Yang Kai Tai (compiled in 2001)
Let us take for example the idiom sanyang kaitai " ". Tai is a divination symbol, and according to the Tuan article in the Yijing " ": "The heaven symbol (qian) is above, and the earth symbol (kun) is below. [When] the heaven and earth exchange, all things communicate."
Process of creation of Bai Niao Chao Feng (compiled in 2001)
Process of creation of Bai Niao Chao Feng
Process of creation of Wan Xiang Geng Xin (compiled in 2001)
Process of creation of Wan Xiang Geng Xin
Process of creation of Long/Dragon (compiled in 2001)
Process of creation of Long （Dragon)
2001 Introduction to the Process of Wenzi Hua Development
Six subjects among the many that Huang Yao painted were selected to demonstrate how the research resulting in notes and sketches were developed into paintings.